Location: Studio
1/16/25 - 1/19/25
Members: $550.00
Non-Members: $600.00
Coppini Academy of Fine Art
115 Melrose Place
San Antonio, Texas 78212
TX
United States
Sandra Esparza
sandralespara@gmail.com
956-236-4305
The workshop will be 4 days, January 16, 17, 18 & 19 from 9 to 4 pm.
$550 for members and $600.00 for non members
Award-winning artist David Gray teaches you his classically inspired four-step approach to painting the head in oil from life. Features to this class will include drawing, various types of paint handling, and color mixing. David’s goal for this class is to share tools to help the student achieve a sophisticated translation of the head in oil reminiscent of the 19th-century Neoclassical French Masters.
Portrait Painting Workshop Materials List
Brushes:
Bring an adequate selection of good quality brushes. I prefer a selection of filberts in both hog
bristle and sable (or soft synthetic). For a bare minimum in brush supplies please bring sables or
soft synthetic filberts in numbers 2 through 10. One or two very small rounds for detail work are
also highly recommended.
Some brands I have used and recommend are:
Sable or soft synthetic
Trekell Legion Synthetic Mongoose
Blick Studio Red Sable
Rosemary & Co. Eclipse (synthetic)
Rosemary & Co. Pure Red Sable
Robert Simmons Sapphire (sable/synthetic blend)
Hog Bristle
Trekell Hog Bristle
Robert Simmons Signet Series
You will also need a soft synthetic hair flat or filbert brush for oiling out. An inch or so wide will
be fine. This should be an inexpensive brush. It does not need to be of high quality. Something
from Loew- Cornell or the like will be fine.
Paints:
Any good quality paint such as M. Graham (my preferred brand), Michael Harding, or
Rembrandt are suitable. Please stay away from student grade paints.
You may use your own selection of paints if you are comfortable with a particular palette. But
still try to bring some alkyd white. Otherwise I recommend the following:
Titanium White
Akyd White – I recommend Winsor & Newton Griffon (alkyd) Titanium White
Cadmium Yellow
Yellow Ochre
Cadmium Orange
Cadmium Red Light
Transparent Red Oxide
Raw Umber
Alizarin Permanent or similar
Ultramarine Blue
Pthalo greenSupport:
I recommend size 12 x 16 (but bring what suits you). This will primarily be a head study. You
will only need one canvas. I recommend a smooth weave linen or cotton, well stretched and
primed. Oil or acrylic primed panel is also suitable.
Also, bring something with which to do one or two color studies. I like to use a scrap of primed
linen taped to a board. A small, inexpensive canvas panel is also suitable.
Other:
Liquin Impasto Painting Medium (From Winsor & Newton. Please note this is a thicker gel
consistency of Original Liquin. It comes in a tube.)
A Palette Cup
A Small Amount of 1:1 mixture of Walnut or Linseed Oil and OMS (an ounce or so should
be more than enough)
A Palette – Either a glass palette, disposable sheets, a hand-held wooden type or whatever you
prefer. If you are not familiar with using a hand held palette do not bring one “to try it” for this
class. It takes some getting used to. We’ll be learning enough new things as it is. Stick with a
glass palette or the disposable sheet type. Please try to avoid white or overly dark palettes. A
gray or tan color is to be preferred.
A Trowel Shaped Painting Knife (for mixing), the blade being 1 1⁄2 -2 inches (or thereabouts)
in length.
Rags or Paper Towels
Brush Basin/Cleaner
Odorless Mineral Spirits (OMS) – I prefer Gamsol by Gamblin. This solvent dissolves very
slowly into the atmosphere, making it safer to use than other solvents or turpentine. Please do
not bring a product you bought at the hardware store. Bring something made for artist use.
Mahl Stick -- If you are looking to achieve very fine detail and a refined finish a maul stick is
essential.
Optional (but strongly recommended):
Measuring Tool – I prefer a long knitting needle.
Glass Scraper – If you are using a glass palette.
A Small Hand Held Mirror – A great tool for seeing your painting in a fresh way and seeing
your mistakes. I use one all the time.
A Pair of Close Focusing Binoculars – Such as the Pentax Papilio. Very helpful for seeing
detail in the model from your easel position.
2/21/25 - 2/23/25
Members: $1,200.00
Non-Members: $1,300.00
Alyssa Monks - Transcending the Photo-Reference
02/21/25 - 02/23/25
Members: $1200.00
Non-Members: $1300.00Location
Coppini Academy of Fine Art
115 Melrose Place
San Antonio, Texas 78212
TX
United StatesContact Info
Sandra Esparza
sandralespara@gmail.com
956-236-4305
This workshop is designed to guide the students toward creating a painting from a photo reference, using both indirect and direct traditional painting techniques. It aims to instruct painters on how to use the photograph to create a painting that surpasses the look of the photograph, not simply imitates a photograph. This is not a class about photo-realism, it is about the human touch through paint.
The workshop will explain how to create a useful photo reference, covering topics such as ideal lighting, camera settings, Photoshop, and printing. Students will learn to create color relationships that portray the space and volume, creating the illusion. Emphasis is then placed on paint application and ways of activating the surface.
By focusing on deliberate brush stroke and maintaining accurate color relationships rather than blending or rendering, the application of paint describes the form and space, rather than a details of an initial drawing. We will accentuate the structural volumes of the form over the contour, concentrating on relating all parts of the picture to each other with an organized palette. From there, students will be guided towards deciding what information is useful to look for and what usual pitfalls to avoid when interpreting a photograph. Deciding when and how to invent and experiment is perhaps the most crucial part of the process.
Students will be encouraged to look more at the painting itself than the photographic source, using it only for initial reference. We will explore ways of seeing the picture objectively, how to imply detail without overstating, and what level of finish works best for the particular painting or style. The painting will develop through indirect layers of opaque and transparent painting to achieve the delicate nuances of flesh and other surfaces. Methods of Glazing and Scumbling will be discussed.
The final result can be a painting that captures the essence of your subject (and your connection with that subject) and contains the intimacy of the human touch that transcends a smooth photo-realistic image. There are a variety of results varying from abstraction/improvisation to a more illusionistic representation. All will be discussed and the challenges and rewards of each will be explored.
A maximum of 13 students per workshop. Students may work only in Oil paint (no alkyd or water soluble substitutes). Students must have some knowledge of working with oil paints, and be familiar with basic supplies and clean up procedures. Beginners are welcome. No film or audio recording is permitted. A detailed materials list, with notes, will be distributed upon registration up to 3 weeks prior to the class to ensure time to prepare. Students are required to be prepared for class on the first day. Alyssa will provide photo references for the students to use for the workshop, they are not encouraged to work from their own photographs.
www.AlyssaMonks.comhttps://www.instagram.com/alyssamonks/
Location: Studio
3/27/25 - 3/29/25
Members: $950.00
Non-Members: $900.00
3/27/25 - 3/29/25
Coppini Academy of Fine Art
115 Melrose Place
San Antonio, Texas 78212
TX
United States
Sandra Esparza
sandralespara@gmail.com
956-236-4305
For more workshop Information...please read on…..
MORNING DEMONSTRATIONS ARE IN PASTEL
(9:30am-noonish) In the afternoon (1-5:00pm) artists paint with the medium of their choice with Alberts help at the easel, suggested sizes to work on no smaller than 10×14, no larger that 18×24. Bring at least 4 PASTEL PAPERS to work on.
SUGGESTED ART SUPPLIES
Bring what you already have
What Art Supplies Should The Pastel Artist Bring?
If you are painting in pastel, bring all the pastels that you have and the pastel papers that you like to paint on – plus a few lightweight drawing boards i.e., made of foam core or gator board or any lightweight material.
Albert likes to pastel on the mounted U-Art sanded paper, both 500 and 600 grits.
He prefers the sizes no smaller than 9×12” and as large as 16×20 or definitely no larger than 18×24” The U-Art sanded papers and other very fine pastel surfaces can be purchased directly from Dakota
Art Supplies (they only sell pastel supplies) 888.345.0067. ALBERT pastels on mounted 500grit Buff colored sanded pastel papers whjch are mounted by the U-Art, Co.
If you wish to work on other pastel papers, be sure to bring them to the workshop.
What Pastels should I bring?
All pastel brands are good, since plein air painting is a one session experience. Mr. Handell paints with a combination of Unison, Schmenke, Nu-Pastels, Rembrandt, Senelier, to name a few.
Bring what you already have.
Other Pastel Materials:
115 Melrose Place
San Antonio, Texas 78212
Sandra Esparza
sandralesparza@gmail.com
956.236.4305
https://www.instagram.com/zinlimart/
Explore the World of Expressive Portrait Painting!
Are you yearning to break free from the confines of tight and controlled portrait painting? Experience the exhilarating world of unpredictable textures and vibrant color blends created by expressive brush strokes in our upcoming portrait painting workshop! Guided by the accomplished instructor, Zin Lim, this immersive workshop is tailored for artists of all levels seeking to master the captivating art of creating loose and expressive portraits with a distinctive personal touch.
Day 1: Portrait in Classic.
Day 2: Portrait in Impressionist.
Day 3: Portrait in Expressionist.
What to Expect:
-In-Depth Exploration: Delve into the foundational elements of head painting, including proportion, gesture, and value systems.
-Creative Process: Uncover the secrets of making intriguing brush marks, selecting a limited yet impactful color palette, and crafting a compelling composition that reflects your artistic voice.
-Hands-On Experience: Engage in a series of activities where you'll create three Alla Prima paintings from carefully chosen photo references. These sessions will utilize expressive application techniques and stage breakdowns to breathe life into your portraits.
Why Join:
-Expert Guidance: Benefit from Zin Lim's wealth of experience and expertise in guiding artists towards achieving expressive and dynamic portraits.
-Skill Enhancement: Whether you're a seasoned portrait artist looking to expand your skills or a beginner aiming to cultivate a fresh style, this workshop caters to a diverse range of skill levels.
-Unique Learning Opportunity: Don't miss this incredible chance to elevate your portrait painting under the mentorship of Zin Lim. Seize the opportunity to enhance your techniques and bring a new dimension to your artistic repertoire.
Join us on a journey of artistic discovery and elevate your portrait painting skills to new heights. Reserve your spot now and embark on an enriching experience that promises to redefine your approach to portraiture!
Material list
-Oil Paint: Any brand of Titanium White, Cadmium Yellow, Cadmium Red, Alizarin Crimson, Ultramarine Blue, Pthalo Green (or Viridian), Burnt (or Law) Umber, Ivory Black
-Canvas paper pad or Stretched canvas (12x16 inch or larger, smooth surface is better).
-Brushes: Various sizes of flat (either natural or synthetic hair of any brand is fine but must have good shape of hair). Zin mostly uses low price/synthetic flat brushes.
Palette Knife: Sharp.
-Palette: Palette Pad or any wooden/plastic/glass palette.
-Medium: Pure, Odorless 'Linseed oil’, ‘sunflower oil’, or 'safflower oil' (similar smell and texture to normal home cooking oil) in a jar. No fast-dry medium, such as; Liquin or Galkid. (At the workshop, Zin will use Sunflower oil + odorless mineral spirit).
-Paper towel or rag: To wipe the oil with a brush.
*For our healthy study experience, please don't use fast-drying mediums, or smelly or toxic mediums, such as Liquin, galkid, etc. But use an odorless/no-smelly medium only.
Testimonials
Coppini Academy of Fine Art
115 Melrose Place
San Antonio, Texas 78212
TX
United States
Sandra Esparza
sandralespara@gmail.com
956-236-4305
In this 3-day workshop, Zhaoming will teach a traditional “painterly” technique of oil painting. It will be applied to clothed figure painting in an alla prima” approach. Emphasis will be placed on composition, color and understanding light on form. It will include the process of producing appropriate values and edges to create mood and atmosphere. Students will be led into portrait painting practice by observing Zhaoming’s demonstrations along with individual instruction, and critiques.
Zhaoming’s understanding of classical techniques and superb draftsmanship has enabled him to paint in a loose manner, developing his own concept and personal style.
His workshop is special and limited to a few throughout the year.
Demo from live young female model A, in the morning(3 hours).
Student paint from same model A at afternoon (3hours). Zhaoming will give the individual instruction, critique to at afternoon
Demo from live young female model B, in the morning(3 hours).
Student paint from same model B , at afternoon (3hours). Zhaoming will give the individual instruction, critique to at afternoon
Demo from live young female model A, in the morning(3 hours).
Student paint from same model A at afternoon (3hours). Zhaoming will give the individual instruction, critique to the student in afternoon.
Influenced by the 19th century French painters, Zhaoming Wu describes his ork as representational, but not traditional classical. This technique can be seen through the combination of more modern elements. Utilizing his knowledge of heightened colors and values, he makes powerful, conscious decisions about their application. Active for many years as both an artist and a teacher, Zhaoming has works exhibited in museums and private collections around the world.
The national and international publications have highlighted his vibrant career and technique. He has been featured in major domestic art magazines such as Fine Art Today, Fine Art Connoisseur, American Art Collector, Southwest Art, Art of West and Plein Air Magazine. International publications include Arte Y Libertad (Spain), Art Panorama (China) and Pratique des Arts, (French). He has published 11 books and was featured in 3 instructional DVDs.
Major awards and honors have been given to Zhaoming Wu. These organizations include the International Artist’s Magazine, Oil Painters of America and the National Oil and Acrylic Painter’s Society, among others. For 9 consecutive years, he was a juror of an international art contest at the Museum of Modern Art in Barcelona, Spain.
Coppini Academy of Fine Art
115 Melrose Place
San Antonio, Texas 78212
TX
United States
Contact Info
Sandra Esparza
sandralesparza@gmail.com
956-236-4305
Description
Jenny Buckner Workshop
Workshop description
-We will be working 9-4 (one hour lunch). I will be showing my entire process from sketch to finish. We will discuss photographing animals and florals, painting light and shadow, values, color, chroma. I have several different exercises to help your painting journey. You will finish 2-3 paintings. I will be demonstrating. It's a special and fun time. All the workshops follow this guideline.
Workshop Supply List
Paint- Alizarin Crimson
French Ultra Marine Blue
Cadmium Red Medium
Cadmium yellow medium
Cadmium yellow light
Ochre
Raw Sienna (by Rembrandt)
Burnt Sienna
Burnt Umber
Radiant Turquoise, (these next four are very good too for florals but not essential: radiant blue, radiant violet, radiant red, radiant magenta) by Gamblin
Titanium White
Cadmium Orange
Provence blue by Charvin.
Sap Green
Cerulean Blue
Transparent Orange by Gamblin
Naples Yellow
Quinacridone Rose (or Q. Fushia or Q. Magenta)
Brushes
I use long filberts and flats in all sizes, but I recommend you bring whatever you normally paint with.
Palette knife
Odorless Mineral Spirits
Viva paper towels(smooth kind)
Murphys Oil Soap
Palette
Canvas- bring a variety of sizes.
Tone all canvases with transparent orange.
Easel
Ruler
Pencil or charcoal
3/8/2024 - 3/10/2024
115 Melrose Place
San Antonio, Texas 78212
Sandra Esparza
sandralesparza@gmail.com
956.236.4305
Once you learn the basic mechanics of painting the landscape, it’s time to learn how to add the poetry. We’ll examine the
difference between paintings that merely contain elements of the landscape, and those that convey a distinct visual
message… and how to gain the skills necessary to accomplish this.
Skills covered will include composition, editing, value structure, color temperature and chroma. We’ll also address how to
make every stroke count, considering the particulars of how you apply pigment to surface and how the quality of the
application will contribute to your painting’s message.
Each day of the workshop will begin with a demonstration followed by students working on a specific painting exercise for
the remainder of the day. Instructor demos will include both oil and pastel. Students will receive plenty of individual help
from the instructor at the easel during their painting time.
This workshop is open to all levels, although artists with at least some basic landscape painting experience will benefit
most.
Barbara loved drawing and painting as a child, but it was stubborn determination more so than natural
giftedness that launched her artistic journey in her early teen years. Her grandmother was an
accomplished oil painter, and although she didn’t directly encourage Barbara to follow in her footsteps,
Barbara’s childhood was surrounded by her beautiful paintings.
Not realizing that a career in fine art could be a possibility, she steered her initial career choice toward
another art-related field, receiving a Bachelor of Arts degree in 1986 from The College of New Jersey
(formerly Trenton State College), majoring in Art with an emphasis in Advertising and Design.
Barbara’s early career was spent in advertising as an art director, then later in corporate marketing
communications. Without much time for painting during these earlier careers, she always knew she
would eventually continue her original artistic passion, and in 1999 she gradually but intensely began to
do so. Finally, in 2002, she was able to turn her focus to a fine art career, pursuing it full steam ahead.
Working in oil and pastel, Barbara strives to capture light-filled landscapes in an impressionist style. The
majority of her work is created in the studio, but a regular practice of plein air painting enhances her
ability to capture a genuine sense of light in her paintings.
She holds signature memberships in Oil Painters of America (OPA) and American Impressionist Society
(AIS), and has earned the distinctions of Master Pastelist in the Pastel Society of America (PSA) and
Eminent Pastelist in the International Association of Pastel Societies (IAPS).
Born and raised in New Jersey, Barbara also lived in Atlanta, Georgia for many years until she yearned
for snow and mountains for her landscape subject matter, which prompted her family’s move to Bend,
Oregon in 2015.
PASTEL SUPPLIES
Pastels
Soft Pastels - Feel free to use your favorite soft pastels if you already have a good range of values, plus some
hard pastels mentioned below. I highly recommend organizing your pastels by value. If you plan to stock up a
bit before the workshop, here are some of my favorite soft pastels that I’ll use in my demonstrations:
* Terry Ludwig
* Schmincke
* Sennelier
* Jack Richeson (Handrolled Soft Pastels) – Their Winter Landscape 80 pc. set is one I developed for
workshop students, and is available through Dakota Pastels and Judson Art Outfitters. (At least one of
my demos will be a snow scene.)
Hard Pastels – NuPastel square/hard pastels have traditionally been my favorite for my initial block-in of a
pastel painting. However, they will soon no longer be available to order individually. Since they’ll be available
only in full sets, and I only use a few of these pastels, I’ve found alternative hard pastels that can be purchased
individually. The colors are basically a dark blue, bright orange, bright pink, violet and dark brown. Listed below
are the NuPastels, and then alternate options (in the same color order) in Cretacolor and Rembrandt. You’ll
need only the 5 pastels listed for one of these options (or a combination from any of the brands).
NuPastels: 244 Blue Violet, 212 Deep Orange, 306 Orchid Pink, 254 Violet Hyacinthe, and 353 Cordovan
Cretacolor: 239 Paynes Grey, 111 Orange, 133 Rose Madder, 139 Bluish Purple, and 219 Sepia Dark
Rembrandt: 548.3 Blue Violet, 236.5 Light Orange, 318.8 Carmine, 548.5 Blue Violet, and any dark brown hue*
(*I don’t have a Rembrandt equivalent chosen yet for the brown, but any dark, warm brown hue will work.)
Surface
We’ll use mounted UArt paper for the first two days; Sennelier LaCarte paper for the last day.
Mounted UArt – We’ll be using liquid underpaintings for the first two days, so the mounted version of the Uart
paper will be important. My favorite grit is 320 or 400, but any grit close to that will be fine for this workshop.
My recommended workshop size is 11x14.
Quantities/sizes: At least 2 11 x 14 boards (more if you’re a fast painter)
I recommend either of these options for pre-mounted UArt:
Mounted UArt paper from www.propartpanels.com.
or
UArt Premium Mounted Boards, available at www.dickblick.com or www.dakotapastels.com. (These are the
boards made by UArt, NOT UArt paper mounted by Dakota Pastels on conservation board, which have a
different texture.)
You can also mount regular UArt paper yourself to foamboard with a spray adhesive (prior to the workshop).
We’ll be using liquid underpaintings for the first two days, so the mounted version of the Uart paper will be
important.
Quantities/sizes: At least 2 11 x 14 panels (more if you’re a fast painter)
Sennelier La Carte pastel card – two 19.5 x 25.5 sheets cut in half (just for easier transporting). Any color is
fine but avoid anything darker than a mid-value; I use the “Sand” color for my demos. Or either of their smaller
size pads of this paper in assorted colors also works well. This paper will be for multiple small studies.
Other supplies:
* Small sketch book
* Artists tape
* A couple of sharp pencils (any type) for thumbnails, and sharpener; or a mechanical pencil
* ruler
* Pastel pencil, if desired, to draw in initial shapes for painting (I use Cretacolor Paynes Grey)
* Isopropyl alcohol for underpainting (just the cheap “rubbing” alcohol you find in the grocery store)
* Small jar for alcohol
* Brush for underpainting – Flat bristle brush…#6 or #8 (5/8” – 3/4” wide)
* Optional - backing board such as foamboard (a few inches larger on each side than your panel) to
hinge your painting panel, if working at a studio easel. This allows for plenty of space around the entire
panel.
* Hand wipes
* Paper towels
* Latex gloves or other hand protection if desired
* Portable easel if venue does not provide
Reference Photos (SAME FOR PASTEL OR OIL):
If you have your own landscape reference photos, please bring them. I'll provide copies of the photos I'll use
for my demos, which you may use if you’d like to work from the same photo. I’ll demo at least one snow scene.
You may work from printed photos or from photos on your laptop or iPad. (Please, however, do not plan to
work directly from photos on your phone.)
OIL PAINTING SUPPLIES
Paint* –
Titanium-Zinc (or Titanium) White (Gamblin)
Cadmium Lemon (Gamblin)
Cadmium Yellow Deep (Gamblin)
Cadmium Orange (Gamblin)
Yellow Ochre (Gamblin)
Permanent Red Medium (Rembrandt)
Alizarin Crimson (or Permanent) (Gamblin)
Transparent Red Oxide (Gamblin 1980 line; or Rembrandt)
Ultramarine Blue (Gamblin)
Cobalt Blue (Gamblin)
Viridian Green (Gamblin)
Sap Green (Gamblin)
Burnt Umber (Gamblin)…optional; only for toning, see below
*Listed above are my brand preferences and what I’ll likely use in my demos. I understand the expense of each
new tube of paint, so feel free to use similar alternatives you may already have. I tend to see the most
discrepancy in color mixing with yellow ochre and alizarin, so I do recommend using one of the brands I’ve
listed for those.
I tone my surface with a mixture of Burnt Umber and Alizarin, diluted with Gamsol. Once brushed on and
wiped with a rag or paper towel, it should appear as a warm flesh color, toned to about a 2 on a value scale of
1/lightest-10/darkest. (You can also use Transp. Earth Red + Alizarin for toning if you don’t already have Burnt
Umber and don’t want to buy it.) It’s ideal to tone your panels prior to the workshop, but you can also do it
there.
Surface – I recommend panels from www.canvaspanels.com (SourceTek – I like #13 oil primed linen on
Gatorboard, but any version is fine) or www.judsonsart.com (Guerrilla Painter® Extra Fine Oil Primed Linen
Panels…these are a great affordable option for workshop studies)
Quantities/Sizes:
2 11x14s (more if you’re a fast painter)
2 12x16s – this can be something cheap, even canvas sheets. You’ll divide each panel into 4 sections
of 6”x 8.” (You can draw lines to separate each panel into quarters, or use tape.) Any size surface will
work, as long as you have enough to fit about eight 6x8 studies. Something larger than 6x8 on which
you can fit at least a couple studies at a time will work best. You don’t necessarily have to tone these
surfaces, but it may be helpful to have one of them toned.
Brushes – Bristle brushes in sizes 1, 2, 3, 4, 6, and 8 (or other similar size range). Filberts for sizes 1-3; flats for
sizes 4-8. Bristle brushes, rather than softer synthetic brushes, will be important. More information is available
on the workshop page of my website (https://barbarajaenicke.com/page/9904/workshops) about an optional
Richeson brush set I have available for students, or to simply take a look at the brushes I’ll be using in my
demos.
Other supplies:
* Small sketch book
* Artists tape
* A couple of sharp pencils (any type) for thumbnails, and sharpener; or mechanical pencil
* ruler
* Portable palette
* Odorless mineral spirits such as Gamsol
* Painting medium (I use Gamblin’s Solvent-free Gel or Galkyd Gel, but any medium is fine)
* Wet canvas/panel carrier
* Palette knife
* Paper towels
* Hand wipes
* Latex gloves or other hand protection if desired
* Portable easel if venue does not provide
Reference photos
Exercises in seeing Shapes
Making shapes come to life as dimensional form on the page.
Mark making/ pushing the full potential of your media.
Working with a live model.
Gesture/ getting life into your drawing.
What to look for in proportion and anatomical landmarks.
When: Sat., Nov 4, 9 am - 4 pm Sun., Nov5, 9 am - 4 pm with 1 hour lunch break
$265, (includes models) $100 deposit required.
To sign up, contact Kraig Kiedrowski directly: kiedtex@swbell.net
Ph: 210-787-6367
9/29/23 - 10/1/23
9/29/2023 - 10/1/2023
Coppini Academy of Fine Art
115 Melrose Place
San Antonio, Texas 78212
United States
Sandra Esparza
sandralesparza@gmail.com
9562364305
With Rosso E. Crimson
Learn how to paint creative expressive portraits merging realism with abstract art, in Rosso’s style. Using a combination of photographic reference and imagination, Rosso will share her technique to create beautiful portraits in oil with floral and/or abstract patterns that are vibrant and full of life.
The course is suitable from beginners to advanced, and tailored to each students’ level.
It is recommended to use oil paint for the course although acrylics can also be used.
Rosso will introduce students to her painting approach. Starting from basic portrait photos, she will show simple techniques and exercises that stimulate imagination and help departing ‘creatively’ from the photographic reference. During these “creative exercises”, students will also address some compositional issues as well as creating colour studies that will be used as a guide for the final painting.
The portrait will be built up in layers during the 3 days of the workshop, starting with a general blocking-in then slowing adding on more, until the finest details. Rosso will briefly talk about head anatomy, and how to get the likeness of sitter/model in order to create realistic portraits, as well as showing how to mix realistic skin tones for different skin types.
Students will also be shown how to tackle the background, and how to create abstract patterns, using colours and texture that add more depth, mood and expression to the entire painting.
At any stage, Rosso will give short demos and help students based on their level.
By the end of the workshop, students will leave with an expressive portrait painting, in an abstract-realist style.
The workshop will end with a review of the work created, the process explored, and recommendations on how to move forward from here.
We will be working using printed out copyright-free photographic references. Please feel
free to bring a digital device (Ipad/iphone) to see the image digitally (OPTIONAL).
You will be able to save/use the reference image for future use in your own
premises.
The Coppini Academy of Fine Arts
115 Melrose Place San Antonio, TX 78212
210.530.8445
